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Textiles

The 50,000 objects in the textile collections fall into two main categories: raw fibers, yarns, and fabrics, and machines, tools, and other textile technology. Shawls, coverlets, samplers, laces, linens, synthetics, and other fabrics are part of the first group, along with the 400 quilts in the National Quilt Collection. Some of the Museum's most popular artifacts, such as the Star-Spangled Banner and the gowns of the first ladies, have an obvious textile connection.

The machinery and tools include spinning wheels, sewing machines, thimbles, needlework tools, looms, and an invention that changed the course of American agriculture and society. A model of Eli Whitney's cotton gin, made by the inventor in the early 1800s, shows the workings of a machine that helped make cotton plantations profitable in the South and encouraged the spread of slavery.

A "Martine" silk by the Duplan Silk Company of Hazleton, PA. This design titled "Pekin", on quality "Crepe Chinois", a lightweight plain weave silk with slubbed weft yarns like a shantung. Printed design of wide and narrow irregular stripes in brown, blue, olive green, and orange. This example was cylinder printed. Duplan's publicity touts this series of silk dress fabrics as "Woven, printed, and finished in the US, sold and delivered in Paris and London. Designs by the Martine School of Decorative Art, Paris, France. Directed, owned, and personally supervised by Mr. Paul Poiret, who is universally acknowledged as the greatest creator of women's fashions of the present century." In the press these were called "Futurist Flowers", and there were supposedly 8 designs in total that Duplan licensed from Poiret. The NMAH Textiles collection holds six samples, four designs, two designs in two colorways on two different ground cloths.

A "Martine" silk by the Duplan Silk Company of Hazleton, PA. This design titled "Pekin", on charmeuse, a lightweight satin weave silk. Printed design ofwide and narrow irregular stripes in yellow, chartreuse green, blue, brown, and black. This example was cylinder printed. Duplan's publicity touts this series of silk dress fabrics as "Woven, printed, and finished in the US, sold and delivered in Paris and London. Designs by the Martine School of Decorative Art, Paris, France. Directed, owned, and personally supervised by Mr. Paul Poiret, who is universally acknowledged as the greatest creator of women's fashions of the present century." In the press these were called "Futurist Flowers", and there were supposedly 8 designs in total that Duplan licensed from Poiret. The NMAH Textiles collection holds six samples, four designs, two designs in two colorways on two different ground cloths.

A "Martine" silk by the Duplan Silk Company of Hazleton, PA. This design titled "Bishop", on quality "Fleur de Jeunesse" a fine soft taffeta. Printed design of scattered stylized scrolls and flowers in golden brown, bright pink, and light green on an off white ground. This example was cylinder printed. Duplan's publicity touts this series of silk dress fabrics as "Woven, printed, and finished in the US, sold and delivered in Paris and London. Designs by the Martine School of Decorative Art, Paris, France. Directed, owned, and personally supervised by Mr. Paul Poiret, who is universally acknowledged as the greatest creator of women's fashions of the present century." In the press these were called "Futurist Flowers, and there supposedly 8 designs in total that Duplan licensed from Poiret. NMAH Textiles department holds six samples, of four designs, two of the designs in two colorways on two different ground cloths.

A "Martine" silk by the Duplan Silk Company of Hazleton, PA. This design titled "Lizeron", on charmeuse, a lightweight satin weave silk. Printed design of stylized leaves and flowers in green, yellow with off white on a black ground. This example was hand block-printed. Duplan's publicity touts this series of silk dress fabrics as "Woven, printed, and finished in the US, sold and delivered in Paris and London. Designs by the Martine School of Decorative Art, Paris, France. Directed, owned, and personally supervised by Mr. Paul Poiret, who is universally acknowledged as the greatest creator of women's fashions of the present century." In the press these were called "Futurist Flowers", and there were supposedly 8 designs in total that Duplan licensed from Poiret. The NMAH Textiles collection holds six samples, four designs, two designs in two colorways on two different ground cloths. Duplan publicity also says that "Lizeron" was, "so far as we know, the first hand block design ever printed by hand in the United States, on a heavy quality of silks. The yardage possible to produce per day, printed by hand by one man, in a design of the character, is only about 1/20th of what a silk printing machine can produce in the same length of time."

Silk dress goods printed in black on white with a variation (S-225) of an "ant and swallow" design taken from the family crest of the Bolling family in England, in honor of the marriage of President Woodrow Wilson and Edith Bolling Galt. This variation has closely spaced black stripes with rows of coin dots in a half drop repeat - black ants in white circles and white birds in black circles.The use of strict black and white reflects the fact that color dyes were scarce due to the blockade of Germany by British ships during WWI. German firms were the primary holders of dye and colorant patents, , and the blockade created a critical shortage of dyestuffs in the still-neutral United States in 1915-1916. When the US entered the war in 1917, on the British side, the German dye patents were seized and turned over to American manufacturers.

Silk dress goods printed in black on white with a variation (S-227) of an "ant and swallow" design taken from the Bolling family crest in England, in honor of the marriage of President Woodrow Wilson and Edith Bolling Galt in December 1915. This variation has widely spaced black stripes with superimposed black coin dots holding white birds, with individual ant motifs in columns between the stripes. The use of strict black and white reflects the fact that color dyes were scarce due to the blockade of Germany by British ships during WWI. German firms were the primary holders of dye and colorant patents, , and the blockade created a critical shortage of dyestuffs in the still-neutral United States in 1915-1916. When the US entered the war in 1917, on the British side, the German dye patents were seized and turned over to American manufacturers.

Silk dress goods printed in black on white with a variation (S-222) of an "ant and swallow" design taken from the Bolling family crest in England, in honor of the marriage of President Woodrow Wilson and Edith Bolling Galt in December 1915. This variation has a pattern of checks in black on white, with black ants in the white squares and white birds in the black squares. The use of strict black and white reflects the fact that color dyes were scarce due to the blockade of Germany by British ships during WWI. German firms were the primary holders of dye and colorant patents, , and the blockade created a critical shortage of dyestuffs in the still-neutral United States in 1915-1916. When the US entered the war in 1917, on the British side, the German dye patents were seized and turned over to American manufacturers.

Silk dress goods printed in black on white with a variation (S-226) of an "ant and swallow" design derived from the Bolling family crest in England, to honor the marriage of President Woodrow Wilson and Edith Bolling Galt in December 1915. This variation has a thin black check on a white ground, with scattered larger squares, white squares containing black ants and black squares containing white birds. The use of strict black and white reflects the fact that color dyes were scarce due to the blockade of Germany by British ships during WWI. German firms were the primary holders of dye and colorant patents, , and the blockade created a critical shortage of dyestuffs in the still-neutral United States in 1915-1916. When the US entered the war in 1917, on the British side, the German dye patents were seized and turned over to American manufacturers.

The first H.R. Mallinson & Co. La Victoire series, designed just before the Armistice to end World War I in Fall, 1918, comprised 6 designs. The first series of La Victoire prints celebrated different aspects of the French military forces. The "Scouts" design is "a clever stripe design in which the French poilu is featured on a scouting expedition." (description taken from a Mallinson marketing booklet). Infantry scouts often operated alone, ahead of their units, trying to find out the size and placement of the opposing forces. In this striped design, the seated and standing figures of the scouts appear to melt into the trees. The design is machine-printed on a lightweight semi-sheer silk crepe that the Mallinson firm trademarked as "Indestructible Crepe."

"Chasseurs" is a design from the first H.R. Mallinson La Victoire series, designed just before the Armistice to end World War I was signed in Fall, 1918. This example was printed on Mallinson's trademarked "Indestructible Crepe." The term “Chasseurs à cheval” designated elite units of the French cavalry – “chasseurs” meaning hunters, “à cheval,” on horseback. During World War I, dangerous reconnaissance missions were often given to the Chasseurs. The wide stripe design depicts standing figures and figures on horseback (the elite reconnaissance units of the French army) who appear poised for action among trees and shrubs, with a stream winding through. See TE*T04082 for the same design on a different ground cloth (Mallinson's Pussy Willow) and in a different colorway (5 colors on a dark blue ground).